"Generation Input"
During the 1950s-1960s I ventured an AM radio and Sound Service tape reporting challenge which consisted of start and end opportunities/positions with local and regional domestic stations; intuitively, I pressed on with my analogue sound quests -which, thanks to NEA, State and .edu grants, were realized on through fluxed time-space well beyond this link: http://www.d.umn.edu/~lbrush/TSS_1956.html#anchor1273369 The segue came after John Kennedy was elected president, when I gleefully aborted the previous carbon-copying radio existence. Re oxygenated advice from my best friend, I enrolled in Chicago's Art Institute night school's "preparedness drawing courses" and was eventually accepted into day school with a Ford Foundation Scholarship.

In 1969-1972 I conducted regular class promo news conferences in the halls, using posters, of Chicago's Art Institute Schools. http://www.d.umn.edu/~lbrush/spheres.jpg http://www.d.umn.edu/~lbrush/lbarchivesb1.html#anchor34975 The newly assembled Redot telephone (conference call ) network http://www.d.umn.edu/~lbrush/lbarchivesc1.html#anchor165451, segued the introduction of my new Audible Constructs course which welcomed newly enrolled students in this SAIC class.http://www.d.umn.edu/~lbrush/GDeFilippsBwriting.html#anchor355077 My instruction, as a graduate teaching assistant, was anchored with open-ended, conceptualized subtitles: Mind Voice and Generation Input, and persisted as outlets throughout the two years of the sound-based curricula.http://www.d.umn.edu/~lbrush/lbarchivesb.html#anchor21242 http://www.kunstradio.at/PROJECTS/AB2007/z/16/23/LB%20REDOT%20Nwks.MP3
http://www.d.umn.edu/~lbrush/
His work with Terrain Instruments 2, sound-monitoring constructions and installations in the landscape differ from traditional musical instruments and sculpture. His own approach was to construct from raw nature which initially incorporated both decision and chance. Brush explained how these 'soundworks' 3 have reach audiences- five Westar IV satellite series 4, Titled Teleconstructs Spaceworks 4a, and he details these works, aiming for spatial-layering orchestrations, his sensor input sources were derived from Terrain Instruments; in which various audio sources are key-assigned speaker placements via an Intel 8080 microprocessor 5; its keyboard-controlled output spatially directs sound out flow among two hundred five inch speakers (Hudson River Museum NYC). The viewer/listener is asked to open new channels of perception to experience his soundworks that proceed from terrestrial sources: the natural environment.

Tags:

Full Description

giving back to the power grid real time; traversing "believable simulations... between analogue and digital"

Self-reflections, proceeding regeneratively, segueing fluxed, and terrestrially sustained conceptual processes; such a quest entails unheard and unseen analog sensing, feedback and feedforwarding which can encompass the understanding, enhancement, expansion of multudinous terrestrial A/V constructions. The early world playing series (Rhizome) sought local people for monitoring from local latitude and longitude neighborhood sites. Essentially, such a complex challenge entails contextualizing aspects of sounds being simultaneously identified and monitored (imagine contexts within compatible contexts), with their resultant sound sources being collaboratively synced by humans, assembling these aspects from multitudinous terrrestrial opportunities, and following through with these experiential results? resolving how, what, where, when, whys! Streamed HeNe modulated laser transmissions would expedite these experiments using a variety of xyz sensors for overhearing complex signals. Nano technologies are capable of obtaining these in realtime from a variety of film sensors that depend on multiplexing and demultiplexing via reciprocating light paths- from local neighborhoods and global communities.
For instance, identifying, realtime UTC synchronized signals received from contiguous latitude and longitudinal positions, e.g., by using helium balloons monitoring from trees below, with approximately mile separation, and, allowing tech-participants to align Ardrino, xBee 6 data collations from these sites for syncing and DSPing at home; collated eventually, the orchestrated whole- from all inputs- offers a momentary "composition." Ubiquitous, natural occuring analogue vibrations and signals, when quested enthusiastically, have exhaustless revelatory auditory and visual imaging potentials for peoples' minds, ears, eyes; these self-directed "heaven and earth" terrestrial contexts, humanitarian connectivities among their friends and neighbors - intuitive respondents - can imagine light-guided, Nano Bio-Art reciprocally paralleling streaming music - along side natural soundings- and together, manifesting eye-parity from their uniquely personalized symbolism.

Artist Statement

sound reasons: low voltage solar powered Nano neighborhoods

re off the power grid and borderless boundaries, based on low voltage solar-powered appliances 6 - in which artists', scientists', their media-wiki based offerings from citizen-scientists who challenge themselves, listening to natural sound resources as if they had primitive ears 7, and , opening up to what nature really - in realtime- "sounds like"; so doing, such an experience -in this time space- will parallel music's energetic, prolific and varied sound streams.
Hear's 3/4s into Leif's soundwork projects.8 His work with Terrain Instruments, sound-monitoring constructions and installations in the landscape differ from traditional musical instruments and sound sculpture. His own approach? to construct (from/overhearing) raw nature which initially can incorporate both your decision and some chance. How have his soundworks reached audiences? many times via Westar IV satellite, and details of the work? using spatial-layering orchestrations in which all sound inputs are derived from his Terrain Instruments where they are key-assigned, via an Intel 8080 microprocessor; and the keyboard-controlled out-puting spatially directs sound out flows among two hundred five inch speakers (Hudson River Museum http://www.d.umn.edu/~lbrush/lbarchivesf4.html#anchor149487). The artist/scientist/participant/viewer/listener is asked to use expanded perception to experience, eventually and mutually share all naturally-derived sounds and terrestrially synced.